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Elden Ring is Miyazaki’s most successful attempt to get players out from behind their shields

Hidetaka Miyazaki never came out for a sequel, so that might explain why his familiar gameplay templates are given so many different names. The labels that were replaced after the release of the Soulsborne line or Elden Ring caused us to fluctuate between style, setting and duration, not just titles. However, despite all the costume changes and stage changes, the song itself remained largely the same.

This is especially true in combat, despite years of trying to get players to change their tactics. The core of the swordsmanship of this game is a fighting game. Control space, dance in and out of bounds, bait, dodge, and punish. Success is understanding that it is your turn. When the enemy is open enough to hit one or two. You go inside, smash a quick R1, retreat to safety, pick up your shield and start dancing again from the beginning.

Deviation from From in this formula suggests some frustration with the player’s defensive tactics. Bloodborne’s recovery mechanic pushed the player to the forefront, and in his description of one of the game’s few defensive tools, Miyazaki articulated his own feelings: “Shields are nice, but not when making passives.” At Sekiro, From went further and defined defense as the best form of attack, but defense required timing as accurate as hardcore fighting game combos. Of course, it gave us stealth, but to no avail for Genichiro and his party, right?

similar veins

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Elden Ring

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“After 60 hours, we started exploring the depths of the Ashes Of War system.”

And once you get there, you will have more options than ever before. Yes, there are still light and powerful attacks. The latter variant of the charge move can deal heavy damage even to the largest enemies and take down many smaller enemies. The new jump attack has a similar but less dramatic effect. And in another new addition, Guard Counter, the Elden Ring shows just how much fun you can have by paying attention off-board while offering great concessions to defense-oriented players. A quick press of a heavy attack while blocking an incoming blow will trigger an instant retaliation, dealing significant damage and often knocking the enemy straight to the ground. This is FromSoft, but it comes with some risks. Combos when enemies are in combat, you’ll probably be eating her next hit instead.

After 60 hours, we’ll add a unique attack to the weapon’s movement set based on Dark Souls 3’s weapon abilities, as well as adjust attribute scaling and permanent elemental or status effects on swing. We spent hours with Lion’s Claw’s skilful forward acrobatics and an unstoppable closing slam. Bloody Slash is fast, engaging, and bleeds with every attack. It’s worth the small amount of health it costs to use. There’s more to discover, but the impact on the game is already evident. You no longer need multiple weapons to cover different situations or to bypass specific enemy resistances with consumables. The tools you need are at your fingertips and the key to victory is choosing a few menus.

Bringing all these systems together in battle is a joy. Especially when the boss is waiting for a critical hit.


This feature first appeared in issue 370 of . Edge Magazine. For more great articles like this, check out all of Edge’s subscription services. magazine direct.


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Elden Ring is Miyazaki’s most successful attempt to get players out from behind their shields

Hidetaka Miyazaki has never seemed like one for sequels, which perhaps explains why his familiar gameplay template has appeared under so many different names. The Soulsborne lineage, or whatever clunky portmanteau has supplanted the label now that Elden Ring has released, has shuffled us not just between titles but styles, settings and time periods too. But despite all the costume changes and reshuffled staging, the song itself has largely remained the same. 
That is particularly true when it comes to combat – despite efforts over the years to get players to change up their tactics. Swordplay in these games is a fighting game at heart: about controlling space, dancing in and out of range, baiting, evading and punishing. Success is about understanding when it is your turn; when the enemy has left themselves open enough for you to get in a hit or two. You nip in and dash off a couple of quick R1s, then retreat to safety, raise your shield, and begin the dance anew.
From’s departures from this formula suggest a certain frustration with the defensive tactics its players employ. Bloodborne’s Regain mechanic urged the player onto the front foot, and in the description for one of the game’s few defensive tools Miyazaki made his feelings plain: “Shields are nice, but not if they engender passivity”. In Sekiro, From went even further, reframing defence as the best form of attack – but where defence involved timing as precise as a hardcore fighting-game combo. Sure, it gave us stealth, but that was no use against Genichiro and company, was it?
Similar veins

(Image credit: Sony)
SUBSCRIBE TO EDGE

(Image credit: FromSoftware)

“After 60 hours, we’ve barely begun to explore the depths of the Ashes Of War system”.

And once you’re there, you have more options than ever. Yes, you still have your light and strong attacks, the charge-move variant of the latter dealing heavy damage to even the biggest foes and putting many smaller ones on the floor. The new jump attacks have a similar, if less dramatic effect. And in another new addition, the Guard Counter, Elden Ring makes a huge concession to the defensively minded while also showing them how much fun they can have when they throw caution to the wind. When you block an incoming blow, a quick press of heavy attack performs an instant riposte, dealing significant damage and often crumpling the foe straight to the floor – though, this being FromSoft, a certain risk is baked in: if your enemy is mid-combo, you’re probably eating their next hit instead. 
After 60 hours, we’ve barely begun to explore the depths of the Ashes Of War system, which builds on Dark Souls 3’s weapon skills by not only expanding a weapon’s moveset with a unique attack, but also letting you tweak its attribute scaling and add permanent elemental or status effects to your swings. We’ve spent hours in the company of Lion’s Claw, with its slick forward somersault and unstoppable finishing slam. Bloody Slash, fast and attractive and causing bleed on every hit, is well worth the small amount of health it costs to use. There are many more to uncover, but their impact on the game is already clear. No longer do you need multiple weapons to cover different situations, or to work around certain enemy resistances with consumables. The tool you need is already in your hand, the key to victory only a few menu selections away.
Putting all of these systems together in battle is a delight – particularly when it leaves a boss prone on the floor, awaiting a critical hit – and when done correctly fundamentally upends the traditional Souls 
This feature first appeared in issue #370 of Edge Magazine. For more great articles like this one, check out all of Edge’s subscription offers at Magazines Direct.

#Elden #Ring #Miyazakis #successful #attempt #players #shields

Elden Ring is Miyazaki’s most successful attempt to get players out from behind their shields

Hidetaka Miyazaki has never seemed like one for sequels, which perhaps explains why his familiar gameplay template has appeared under so many different names. The Soulsborne lineage, or whatever clunky portmanteau has supplanted the label now that Elden Ring has released, has shuffled us not just between titles but styles, settings and time periods too. But despite all the costume changes and reshuffled staging, the song itself has largely remained the same. 
That is particularly true when it comes to combat – despite efforts over the years to get players to change up their tactics. Swordplay in these games is a fighting game at heart: about controlling space, dancing in and out of range, baiting, evading and punishing. Success is about understanding when it is your turn; when the enemy has left themselves open enough for you to get in a hit or two. You nip in and dash off a couple of quick R1s, then retreat to safety, raise your shield, and begin the dance anew.
From’s departures from this formula suggest a certain frustration with the defensive tactics its players employ. Bloodborne’s Regain mechanic urged the player onto the front foot, and in the description for one of the game’s few defensive tools Miyazaki made his feelings plain: “Shields are nice, but not if they engender passivity”. In Sekiro, From went even further, reframing defence as the best form of attack – but where defence involved timing as precise as a hardcore fighting-game combo. Sure, it gave us stealth, but that was no use against Genichiro and company, was it?
Similar veins

(Image credit: Sony)
SUBSCRIBE TO EDGE

(Image credit: FromSoftware)

“After 60 hours, we’ve barely begun to explore the depths of the Ashes Of War system”.

And once you’re there, you have more options than ever. Yes, you still have your light and strong attacks, the charge-move variant of the latter dealing heavy damage to even the biggest foes and putting many smaller ones on the floor. The new jump attacks have a similar, if less dramatic effect. And in another new addition, the Guard Counter, Elden Ring makes a huge concession to the defensively minded while also showing them how much fun they can have when they throw caution to the wind. When you block an incoming blow, a quick press of heavy attack performs an instant riposte, dealing significant damage and often crumpling the foe straight to the floor – though, this being FromSoft, a certain risk is baked in: if your enemy is mid-combo, you’re probably eating their next hit instead. 
After 60 hours, we’ve barely begun to explore the depths of the Ashes Of War system, which builds on Dark Souls 3’s weapon skills by not only expanding a weapon’s moveset with a unique attack, but also letting you tweak its attribute scaling and add permanent elemental or status effects to your swings. We’ve spent hours in the company of Lion’s Claw, with its slick forward somersault and unstoppable finishing slam. Bloody Slash, fast and attractive and causing bleed on every hit, is well worth the small amount of health it costs to use. There are many more to uncover, but their impact on the game is already clear. No longer do you need multiple weapons to cover different situations, or to work around certain enemy resistances with consumables. The tool you need is already in your hand, the key to victory only a few menu selections away.
Putting all of these systems together in battle is a delight – particularly when it leaves a boss prone on the floor, awaiting a critical hit – and when done correctly fundamentally upends the traditional Souls 
This feature first appeared in issue #370 of Edge Magazine. For more great articles like this one, check out all of Edge’s subscription offers at Magazines Direct.

#Elden #Ring #Miyazakis #successful #attempt #players #shields


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